Coriolanus (Independent Shakespeare Company's 2026 Production) Theatre Review

It's summer in Los Angeles, and that means it's time for Shakespeare in Griffith Park. Progress is being made on the Independent Shakespeare Company's permanent stage, and word is it will be ready for next season's performances. But for now the company is performing in that more intimate space farther up the hill, which is actually wonderful, for it means the performance space is in the middle of the audience, allowing the company to easily divide the crowd into plebians and patricians for the new production of Coriolanus. Which side do you want to be on? As I'm sure you're aware by now, Shakespeare is always relevant. Whatever is going on in the world, Shakespeare has something to say about it. And Coriolanus is a perfect choice for this moment, dealing in part, as it does, with a populace that is easily manipulated (through the use of fear) and at times votes against its own interests. This production has a fantastic cast, led by Brent Charles as Coriolanus, Patrick Batiste as Aufidius, Melissa Chalsma as Volumnia, Bernardo De Paula as Brutus, and Daniel DeYoung as Sicinius. It is directed by David Melville, co-founder of the company, who also plays Cominius. Several cast members play multiple roles, but there is never any confusion about who is who, in part because of the great work of costume designer Garry Lennon. Jack Fulkerson, in particular, does a wonderful job in several roles, including Titus Lartius, a soldier, aedile and messenger.

As the performance begins, the people are rioting, understandably angry over a food shortage. And that means danger for those people in loftier positions, including the audience members seated in chairs playfully indicated by First Citizen on the word "patricians." Ah, the enemy has been identified, at least to those of us seated on blankets, which of course is the majority of people. This company does a great job of getting the audience involved right from the beginning. The angry crowd is determined to go "To the Capitol," until Menenius Agrippa (Lorenzo González) speaks to them. The stage, which has the look of a chessboard with darker and lighter grey squares, includes a raised platform, often used to indicate who is in power at a given moment, and Menenius steps onto it while speaking to the crowd, everyone else remaining below. And so effective is his speech that the citizens soon relax, some even sitting upon the stage. His delivery of the line "You the great toe of this assembly" is funny, as he takes delight in poking fun at one of the citizens. Later he is equally delightful when delivering the pointed remark "I know you can do very little alone."

When Caius Martius (Brent Charles) enters (not yet known as Coriolanus), there is a certain air of someone who is completely unwilling to tolerate any nonsense, and of someone without fear. The citizens might still be volatile, but he steps straight up to them on "What would you have, you curs" without hesitation or worry, seemingly ready to battle anyone at any time, and so perhaps more volatile than the citizenry. It's an intriguing character, someone who is clearly arrogant and disdainful of anyone he considers beneath him (which, let's face it, is nearly everyone), but that doesn't make him wrong. And his distaste for the game of politics, for the inherently dishonest theatrical element of it, is certainly admirable. Brent Charles does a brilliant job of embodying the spirit of the character, his virtues and faults (what fits into which category greatly depends on the audience's point of view). He was wonderful as Berowne in last year's production of Love's Labour's Lost, and delivers another phenomenal performance here. And, interestingly and tellingly, Caius Martius has taken the raised platform before the end of the scene.

Company co-founder Melissa Chalsma, who was a delight as the Princess of France in Love's Labour's Lost, is spectacular here as Volumnia. When she speaks of her son, her voice is filled with passion and pride. Justine Faith is wonderful as Virgilia, wife to Coriolanus. Volumnia, upon saying "I see him stamp thus," loudly stamps her foot upon the stage, which clearly unnerves Virgilia. When Valeria (Carene Rose Mekertichyan) enters, she speaks downstage (at least to the majority of the audience, the plebians), while Volumnia and Virgilia are on the raised platform section of the stage, which is interesting, as far as the power dynamic goes. Virgilia, listening, finally breaks vocally, which leads to her "A crack madam," offered as a sort of explanation. A really nice moment. Justine Faith is particularly good in this scene. When Valeria mentions "news of your husband," Volumnia is just as interested as Virgilia, if not more. And in a later scene when she receives news of Coriolanus, Melissa Chalsma is both funny and captivating. Her delivery of "his wife another" is funny, as Virgilia is standing right next to her, but Volumnia does not address her. She is completely caught up in her cherished image of her son, and obviously believes herself to be the most important woman in his life. She raises her hand in pride and excitement bordering on ecstasy when she exclaims that he has been wounded, which is hilarious. She basically wants to lead the populace in cheering for her son, so it is interesting that when he arrives to great cheers, he immediately says, "No more of this," And he means it. And it seems that Volumnia is correct in believing herself the most important woman in Coriolanus' life, for on his line "Your hand, and yours," it is his mother's hand he takes first, and then Virgilia's. And later it is wonderful when Volumnia counts Virgilia as an ally. 

Also delivering particularly excellent performances in this production are Bernardo De Paula and Daniel DeYoung as the two Tribunes. They are supposed to represent the people, but of course have their own ambitions, their own designs on power, and so end up manipulating the people. That, of course, should sound familiar. On Sicinius' "Doubt not the commoners," he indicates the audience on their blankets. And we the commoners must accept our own blame in the decisions of our representatives, for it is here, in part because of their wonderful performances, that we can't help but fall for Sicinius and Brutus. We like them. It is interesting that when Coriolanus takes his position on the raised platform, the two tribunes are actually just off the stage with the audience. They are with us, and we can't help but be with them, even as we recognize how they are manipulating us. What does that say about us in our modern predicament? They are also cowardly. They are especially funny during the "no further" lines to Coriolanus. Coriolanus is also wonderful in that scene, particularly on his "Triton of the minnows," taking great delight in his words there. The tribunes gleefully wave goodbye to Coriolanus when he is banished, and then shake hands with some folks in the audience, ever the politicians.

The battle between Coriolanus and Aufidius is handled really well, with the combatants using the bucklers as weapons in addition to the swords. And though the play remains a period piece, the production does make interesting use of modern instrumental rock music to punch up key moments, such as the battle. In the moment when Aufidius gets the upper hand, he takes the raised platform part of the stage. Patrick Batiste never fails to deliver an enjoyable and nuanced performance. He is particularly good during that "Five times, Martius,/I have fought with thee" scene. It is a fascinating relationship between the two men, especially when they meet again after Corionalus' banishment. Their initial exchange then is exciting. Coriolanus is more measured here, then raises his voice when he vows himself willing to fight against his own country. There is a fantastic moment when Aufidius embraces Coriolanus and has the opportunity to literally stab him in the back with his own dagger, and then sheaths it. Perhaps it was due to it being Pride Night when I attended, but some of Aufidius' speech was greeted with unexpected cheers, even before the "fisting each other's throat" line. Aufidius' questioning expression at the end of the scene is funny. But Patrick Batiste is even more fascinating as Aufidius when his soldiers begin to support Coriolanus. His delivery of "Do they still fly to the Roman?" says it all. 

Just as important, if not more so, is the relationship between Coriolanus and Volumnia. For it is that relationship that eventually offers an end to the trouble. It is interesting that this great political drama comes down to the most basic of human relationships, of parent to her offspring. When Volumnia urges Coriolanus to tell the people what they want to hear, she takes the raised platform, assuming a position of power, and assuming her advice should be taken. She is more invested in his advancement than he is, which is perhaps the way with all mothers, perhaps all parents, for she does seem to be both father and mother to Coriolanus. And when she tells him, "I am in this," we know that to be true, the way overbearing parents put great stake in their children's success at certain activities. Volumnia is extraordinary on "The valiantness was mine." And when she succeeds in convincing Coriolanus to go to the marketplace, he puts a little dance in his step on "Look, I am going," showing that he's putting on an act. Performing for his mother? Brent Charles is riveting when he is named a traitor, the last thing he'd expect to be called. As the people react, he is shocked. We see he is not in control, that he can't fathom the people's reactions. In that momentary loss of control, he is spellbinding, and it seems that anything might happen then. He does a great job with the "You common cry of curs" speech. And Volumnia is fantastic on the "Anger's my meat" speech. The entire production is excellent. This is, surprisingly, the first time the Independent Shakespeare Company has done Coriolanus, the last of Shakespeare's great tragedies.

This production of Coriolanus runs through July 26th. Visit the Independent Shakespeare Company's website for the complete schedule. There is one intermission, which comes at the end of Act III Scene i. The perfomance is free, but donations are encouraged. There is also a booth with Coriolanus T-shirts and other items for sale. As I'm sure you're aware, the arts are in great need of support these days.

Shakespeare References in Nobody Walks In LA

John Bwarie's novel Nobody Walks In LA contains a couple of Shakespeare references. Bwarie writes, "I decided to audition for the Fall Drama, A Midsummer Night's Dream, my freshman year" (p. 70). And then: "I was working on an assignment for Ms. Davis's class, Pete was reading a book off the shelf, and Chris was reading Hamlet for English class" (p. 159).

Nobody Walks In LA was published in 2003, through Twin Dolphin Publishing Company.

Shakespeare References in Deceptions

Deceptions, a novel by Judith Michael (who is actually two people, the husband-and-wife team of Judith Barnard and Michael Fain), contains a couple of Shakespeare references. Both are to Shakespeare himself rather than a specific play. The first comes fairly early in the book: "Shakespeare's troupe entertained in Treveston's Great Hall, and generations of farsighted Longsworths filled the castle with a priceless collection of Titians, Rembrandts and Gainsboroughs, rare books and prints and seventeenth-century tapestries and furniture" (p. 53). The second comes in dialogue, with Lloyd Strauss saying to Garth: "I had weeping girls in here, outraged parents, remorseful professors...more drama than Shakespeare. The guy who started it - called the president, bellowing about his little girl being corrupted - happesn to be a big contributor to the new football stadium. It would be football, wouldn't it? Can't ignore football. So the stink spread, and the president ordered me to clear it up before word got out. Word, of course, got out; the Standard, damn its industrious student hide, got the details into last week's paper before I'd even arranged my Shakespearean session" (p. 372).

Deceptions was published in 1982. The copy I read was a hardcover Book Club Edition.

Romeo And Juliet (Will Geer Theatricum Botanicum 2026 Production) Theatre Review

The new production of Romeo And Juliet at Will Geer Theatricum Botanicum relocates Shakespeare's play to New York in the year 1885, a place and time of great division between the rich and poor in this country. It was the so-called Gilded Age, and yet poor immigrant families were crowded into tenements. That also happened to be the year the Statue of Liberty arrived (though the official dedication was not until the following year). And so it is to the streets of New York that the families of the Mulligans (the Montagues of this telling) and the Callahans (the Capulets) take their quarrels. This production was directed by Willow Geer, and stars Asher Hagler and Quinnlyn Scheppner as the pair of star-crossed lovers.

This company always makes great use of the theatre's beautiful space, and does so right from the beginning of this production, with actors entering from various spots in the woods behind and to the sides of the stage and audience, which immediately immerses the audience in the action, in the performance, something that certainly adds to the enjoyment of the production. The opening speech, done by the Chorus in the text, is given by Friar Lawrence (Max Lawrence) from his spot in the upper stage-right section of the space, with the rest of the cast below receiving it like a sermon, which is interesting. Often when Shakespeare's plays are moved to a different time period or different location, the text remains the same, despite certain inconsistencies that are then created. That isn't so with this production. Some of the lines are changed, and that is clear from that first speech. In the text, the Chorus says "In fair Verona where we lay our scene." Here Friar Lawrence says, "In New York City where we lay our scene." And because this production is making a point of class distinctions, the line "both alike in dignity" perhaps no longer applies, and so the line is changed to "spread apart by disparity." So this opening speech becomes even more important than usual, for it not only does its usual job of setting the scene, but also cues the audience that the text might not always be strictly followed.

The opening quarrel is then performed center stage, and here Benvolio (Jesse Corwin) says "put up your blades" rather than "swords," for many of the people carry knives instead of longer weapons. Tybalt (last night performed by understudy Shane McDermot), however, has a sword. He is further set apart by his red suit, something that shows his fiery personality and disposition. The costumes were designed by A. Jeffrey Schoenberg. Rather than a Prince, this production has a Magistrate, played by Franc Ross, and he is dressed in black with a top hat. Mulligan (Billy Walker) is in brown pants and vest, while Callahan (performed last night by understudy Ethan Haslam) is in black jacket and top hat. Furthermore, both Callahan and the Magistrate carry walking sticks, and those similarities in their dress show that the Callahan family has a perceived advantage over the Mulligan family in this telling, aligning them with the power of the city, which is interesting. Paris (performed last night by Tomas Francois) also wears a top hat, though his is grey.

Romeo (Asher Hagler) makes his first entrance from the audience, and right away displays the right youthful energy. He and Benvolio sit at the edge of the stage. Benvolio delivers his "In love" line to the audience, while motioning to Romeo, which is adorable. And Romeo inserts a pause after the word "love" in the line, "I do love a woman." And on that line, he looks up at the sky, smiling, like Rosaline is an angel, some heavenly being. It's a wonderful way to show his youthful infatuation, and prepares us for his readiness to fall completely for Juliet. There is also some roughhousing between Romeo and Benvolio, further displaying their youth. I love how this production is keen on reminding the audience just how young these characters are. Though, interestingly, it does add two years to Juliet's age, with Lady Callahan's line being "She's not sixteen" rather than the text's "She's not fourteen." By the way, Juliet (Quinnlyn Scheppner) makes her entrance running in from the woods, again showing the youth of the main characters. Her birthday is changed to Independence Day from the text's Lammas Eve (so still in July). Quinnlyn Scheppner is endearing straight away. In her line "It is an honor that I dream not of," she begins with that sense of duty that has clearly been taught her, then suddenly switches her tone after the word "honor" to something that is more honest, getting a big laugh from the audience in the process. As expected, Ellen Geer is absolutely delightful as the Nurse, and some lines are added to account for the Nurse's age. We hear the Nurse's own attraction to Paris in her delivery of lines to Juliet about the man's worth.

Mercutio (Rhett Curry) gets so into his Queen Mab speech that the others worry about him, an interesting touch. Because of the disparity in wealth between the two families, and thus in their clothing, it should be rather obvious to the Callahans that members of the Mulligans are present at the party, though Tybalt still seems to discover Romeo's identity from his voice. Callahan makes it quite clear how eager for violence Tybalt is, how out of control he is, during their exchange at the party. Romeo delivers his initial description of Juliet to the audience from his place in front of the stage. His "two blushing pilgrims" speech is given to Juliet while they dance together. Interestingly, his mask is up so that she is able to see his face, though she still does not know him. On her "You kiss by the book," it is clear she is pleased, happy at the way he kisses. The Nurse delivers her "The only son of your great enemy" line as if that information puts an end to the whole matter, a wonderful reading. And it perhaps is the first hint of any division between Juliet and the Nurse, or at least sets in the audience's mind that a later division is possible. Though mostly what we see of the Nurse is her fierce love for Juliet, as later when she warns Romeo against leading her into a fool's paradise. At that moment, we have no doubt that the Nurse would do whatever was necessary to defend Juliet.

As for the famous balcony scene, Romeo begins it to the right of the audience, so that he is essentially with the audience in his view up at her. And when Juliet enters, she dances onto the balcony, a delightful way to show her youthful excitement at having shared a kiss with Romeo. Quinnlyn Scheppner is excellent here. Strangely, this production uses the Q1 reading of "a rose by any other name," rather than the preferred Q2 and Folio readings of "by any other word." Juliet is so startled when Romeo speaks up that she automatically hides, an adorable and humorous moment. Her delivery of "Or if thou think'st I am too quickly won" is especially good. In her delivery, she realizes that maybe she's given away too much of her thoughts, her desires. On Romeo's "If my heart's dear love," he begins to strike a pose, and Juliet quickly interrupts him, "Well, do not swear." It's a really funny moment. What's especially wonderful about it is that up to that moment, the two have been honest, candid with each other, caught in the moment, in the excitement of their attraction. And this is the first moment when Romeo begins to act, begins to take on the role expected of him as a man proclaiming his love, and Juliet immediately sees the difference and dislikes it, and puts a stop to it. She speaks for everyone in the audience who wishes to experience true love. Both are superb in this scene. One other thing about this scene in relation to this particular telling of the story: her being above him in the balcony could be seen in relation to her family's position in society over his.

There is a funny moment when Friar Lawrence is alone with his basket of flowers and weeds (the flowers, by the way, are purple, matching the flowers wrapping around the post beneath what was Juliet's balcony). On his "being smelt," he offers a flower to an audience member to smell, and then on his "being tasted," jokes about offering it to another audience member to taste. There is also some delightful humor when the Nurse and Peter (Elliott Grey Wilson) return to Juliet, Juliet eager to hear news of Romeo, and the Nurse, tired from the errand, is slow to give it. The Nurse gives a rather serious delivery of "Do you not see that I am out of breath," which makes Juliet's response funnier. It's been said before that Romeo And Juliet is a play that starts as a comedy and ends as a tragedy, and this production puts the intermission at perhaps the very moment when things change, at the end of the second act, when Friar Lawrence goes to marry them, rather than after Tybalt has been killed, as is often done. What's also wonderful about that is that Romeo is not at first aware of the change. After the intermission, he is not aware that he is now in a tragedy. So when Tybalt throws his glove at Romeo in challenge, Romeo kindly retrieves the glove and hands it back to him, a really nice touch. Romeo is at his most blissful here, not cognizant of the change in atmosphere. The difference in the performances here between Tybalt and Romeo is striking, and even those unfamiliar with the play would know something is bound to go wrong.

The scene where the Magistrate and the families enter following the fight between Romeo and Tybalt is especially powerful in this production, and it is where we see that everything has changed. There is a general woe, and no one is pleased. In fact, the last person to remain happy, but not for long, is Juliet, for she is unaware of what has just transpired. And she gives her "Gallop apace" speech down below, rather than above, Juliet taking center stage here, for at this point she believes she is in control, at least somewhat, of her story. She's eager to go to bed with her husband, and nothing else matters. But with the Nurse's entrance and the news she brings, that changes. Quinnlyn Scheppner is fantastic in this scene, kneeling down, weakened by the news as it hits her. It's also wonderful how the Nurse quickly returns to her need to protect and comfort Juliet, pulling herself out of her own despair over Tybalt. When Friar Lawrence gives Romeo the news of his banishment, Romeo too falls to his knees, connecting him to Juliet even as they are apart. Interestingly, the Nurse is then a commanding presence before Romeo, ordering him, "Stand up, if you be a man." Because of the change in location of this production, Friar Lawence's mention of Mantua becomes a mention of Jersey City, which gets an unintentional laugh. New Jersey has long been the punchline of jokes, and the idea of being banished from New York to New Jersey is hilarious, in part because many see it as a real punishment. It is perhaps the only time that the change in location works against the production. (Later, Hoboken is mentioned, also getting a laugh.)

There is some really nice work in the scene where Callahan tells Juliet of the match he's arranged for her with Paris. It's not an easy scene, particularly for Callahan and Lady Callahan (Michelle Jasso), who sometimes come across as monsters devoid of any parental love whatsoever. But in this production when Callahan tells Juliet about how he's worked to find her a proper match, we do see that something in him cares for Juliet, that he is trying to do the right thing for her. And that moment when Juliet realizes she's alone, when even the Nurse seems to have turned against her, is outstanding. Maybe the thought of being alone in that manner isn't quite as terrifying for someone on the verge of sixteen as it is for someone on the verge of fourteen, but it is still striking. When Juliet goes to Friar Lawrence, the position and posture she assumes on the floor when threatening to kill herself is nearly identical to that of Romeo earlier, again connecting them even when they are apart. And when Juliet returns home to pretend to agree to the wishes of her father, Callahan is so pleased, so excited, that it makes sense that he wants to set the plan in motion immediately, a day early. And that excitement carries the family through into the next morning, when there is a festive air, while Juliet lies still in the area above them. What a fantastic stage picture that makes. It is excellent that the audience can view Juliet while the family rushes about in joyful preparation for the wedding.

The performance moves at a fast pace, particularly toward the end, when it seems to be caught in its own momentum. This works fairly well for the most part, except once it gets to Juliet's tomb, and then the speed seems somewhat at odds with what the characters are doing. It feels that some of the exchange between Paris and Romeo is cut, an important exchange that is needed. And, stranger still, Romeo seems to be in a rush to kill himself once he is by Juliet's side, which doesn't feel right. Often, even when we in the audience know very well the outcome, there is that thought, that hope, that if Romeo lingers a little longer before taking the poison Juliet will awaken and all will be well. That is lacking in this production because Romeo moves with such haste. On the other hand, it works quite well that Friar Lawrence moves quickly. In fact, it's wonderful how frantic he is in this production, for we know then that he can't really be of help to Juliet. Juliet is quick too, but there are the sounds of other people approaching, so her haste makes more sense. The performances are so good that we want a little more time with the two lovers before the very end.

This production of Romeo And Juliet runs through September 26, 2026, running in repertory with A Midsummer Nigh's Dream and a few non-Shakespeare plays. Visit the theatre's website for the complete schedule. There is one intermission, coming at the end of Act II. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.

Shakespeare References in Portrait Of A Marriage

Nigel Nicolson's book about his parents, Portrait Of A Marriage, contains a few Shakespeare references. The first reference, I assume, is to The Merchant Of Venice, though it could also be to Julius Caesar: "He was invited to Knole in June, as Lady Sackville's guest more than Vita's, and sat in the pouring rain to watch Vita's performance as Portia in an open-air Shakespearean masque" (p. 84). The more famous of Shakespeare's Portias is the one in The Merchant Of Venice, but Portia is also the wife of Brutus in Julius Caesar. There is also a Hamlet reference, with Nicolson writing, "That was the rub" (p. 192). While Shakespeare didn't invent that word, he popularized it, using it first in Hamlet, and then in two other plays. The book also contains a reference to Othello. This comes in a quoted passage from his brother's diary: "D. said she was like Iago, and that nobody would ever believe that such a person could exist" (p. 198).

Portrait Of A Marriage was published in 1973. The copy I read was the paperback Bantam edition from 1974.

Shakespeare Refences in The Devil Wears Prada

Lauren Weisberger's novel The Devil Wears Prada contains a couple of Shakespeare references. The first is a Macbeth reference, with Weisberger writing, "Within twenty-four hours of being 'put on notice' that I would be needing some makeup and more than a few tips, she had created the Be-All, End-All Cosmetic Catchall" (p. 292). The phrase "be-all, end-all" comes from Macbeth, when Macbeth says, "If th' assassination/Could trammel up the consequence and catch/With his surcease success, that but this blow/Might be the be-all and end-all here." The other reference is to the sonnets. Weisberger writes, "Isaac sneezed a very cute baby sneeze in response, and Jill looked as though he'd just risen up from her arms a full-grown man and recited a few Shakespearean sonnets" (p. 345). This book was published in 2003. The copy I read was a hardcover edition that was originally a library book.

Shakespeare Reference in Conquest

Mark A. Calde's novel Conquest contains a reference to A Midsummer Night's Dream. Calde writes, "In all, she was an enticing creature, radiant in her youth and confident in her beauty while projecting a hint of the puckish impudence that had more than once raised a few eyebrows within the staid confines of Vassar" (p. 60). Though the idea of Puck existed before Shakespeare's play, the word "puckish" is related specifically to Shakespeare's characterization, which differed from what had been known previously.

Conquest was published in 1980. The copy I read was the hardcover edition.

Antigone (Antaeus Theatre Company's 2026 Production) Theatre Review

Sophokles' play Antigone is approximately two thousand five hundred years old, yet its themes are as relevant today as they were the time it was written. And the idea of the word of a single man becoming law is especially striking in this country today, when an entire political system has bowed down before the desires of one thoroughly corrupt man. Antaeus Theatre Company concludes its 2025-2026 season with a new adaptation of the ancient Greek tragedy written by Kenneth Cavander and directed by Andy Wolk. It boasts a stellar cast, including Linda Park as Antigone, Tony Amendola as Kreon, Peter Mendoza as Haimon, Mildred Marie Langford as Ismene, John Apicella as Sentry 1, Kaci Hamilton as both Sentry 2 and Teiresias, and Ann Noble as Eurydike in a part greatly expanded from the original text. This adaptation moves the action from ancient Greece to a contemporary setting, a time just after a civil war. There are what appear to be bullet holes in parts of the wall of the set and other details that remind us that these people exist in precarious times, perhaps helping us better understand some of their actions.

As the play begins, there is the sound of a storm, and Antigone enters, wearing jeans and a hooded sweatshirt, the hood up, perhaps as much for secrecy as a brace against the elements. She exits almost as quickly, and so there is a sense of intrigue, a sense of urgency. The two sentries, dressed in army fatigues, then enter, and soon speak directly to the audience, acting as a sort of Chorus, providing some of the backstory. Later they provide some comic relief, as they engage in a game of Rock Paper Scissors to determine who will deliver some bad news to Kleon. John Apicella is particularly funny as he nervously stands before Kleon, having lost the game.

Because of Tony Amendola's tremendous performance, and because of the expanded role of Eurydike, who tempers her husband somewhat, we see Kleon in a different light in his first moments. We even feel for him, as someone who suddenly finds himself in a position of great power and wants to guide his country away from further chaos with a steady and strong hand. We learn that it was his idea that Antigones' brothers engage in a fight, and that he was surprised they accepted the idea. It's a small detail, perhaps, but it tells us that maybe he isn't as sure of himself as he'd like others to believe. And we see him as a politician, when, before his big speech to the populace, he shakes hands with several folks in the audience. When he delivers his speech, it is Antigone and Ismene who are in the audience, and so they become our voice, our conscience. And when Kleon tells us not to be afraid to report any threat to security, we can't help but think of our own society, and the way that notion has been pressed into our heads, from the seemingly benign, even helpful, "If you see something, say something" slogan, to people reporting possible immigrants out to the evil organization ICE. This speech establishes Kleon as the state, and Antigone and Ismene as citizens with different ways of responding to the abuses of that state.

Antigone is determined, against the decree of Kleon, to give her brother a proper burial, knowing it is the right thing to do. Ismene, her sister, discourages her, out of fear, from breaking the law, though she too acknowledges it is the right thing to do. This scene makes those in the audience turn inward and consider what they would do in such circumstances. Both Linda Park and Mildred Marie Langford are excellent here. Antigone takes her sister's hand when she encourages her to help, then lets go of her hand on "a disgrace to our whole family." And though each chooses a differection course of action (or inaction, as the case may be), the two still love each other, as is apparent later. This story is, in part, about familial obligations versus loyalty to the government.

The main piece of set dressing in this production is Kleon's desk, positioned stage right. On one side of the desk is his large desk chair, on the other side is a less comfortable-looking wooden chair. So it is clear how his position of authority is reflected in that. His son Haimon is discovered by Eurydike seated on Cleon's chair. Peter Mendoza (who did a wonderful job as Posthumus in last year's Cymbeline) delivers another strong performance here as Haimon, who, in addition to being son to Kleon, is betrothed to Antigone. It is clear how torn he is, feeling an obligation to his father and love for Antigone. Eurydike quickly sits Haimon down on the wooden chair and tries to school him on love. Kleon soon sits the Sentry on that same chair before questioning and threatening him.

As I mentioned, the part of Eurydike is expanded in this adaptation. In the original text, she appears only briefly near the end. But here she has a central role. She's played by Ann Noble, who was stunning as Richard III in the recent production of Shakespeare's play at A Noise Within, and also fantastic as Kate in last year's Corktown '39 at Rogue Machine. Here she is equally captivating. While the role Eurydike must play in society is the woman behind the man, she soon proves herself perhaps the more adept politician, offering her husband a solution that will allow him to do the right thing while also keeping his reputation secure. She speaks of bringing the country together, something that, coming from our own current situation, strikes us as nearly impossible, and so we don't hold out much hope. Of all the characters, Eurydike is the one who seems most adept at grasping the tenuousness of the situation. In a scene in which Kleon irrationally fears the return of Oedipus to seize power, Eurydike calms and comforts him, and we know that she shares the weight that is upon her husband, though is not offically in a position to do anything about it. And speaking of power, it is interesting that when Antigone has been arrested, she, even seated, seems to be the one in more control when speaking to Kleon. And that is because of her disposition, of the way she controls her voice. Kleon somehow has more fear than she does. 

The only character that seems perhaps a little out of place in a modern setting is Teiresias, the prophet who offers predictions without any fear of official reprisal, a prophet implicitly trusted by Eurydike. The character seems to come from another time, though Kaci Hamilton is completely mesmerizing in the role, dressed in a purple robe, with face covered. There is even a lighting change for the character's entrance, the stage bathed in reds. Though I have to admit that while I and most of the people I know are more skeptical, there are, even today, many people who believe in prophets, in prophecies. So maybe this character is not so distant from us after all.

There is a moment toward the end when Haimon enters wearing a hooded sweatshirt, with the hood up, just as Antigone did in the play's opening moments. And he exits just as quickly. It's a nice touch further showing the connection between those two characters. Another of the production's most striking moments is when Antigone enters the cave that will be her place of punishment, of imprisonment. What little light she has suddenly is gone, and we in the audience are also cast into darkness with her. So we suffer the same fear. Her breath is ours. It's an incredibly powerful and jarring moment. And the production's climax is especially poignant and powerful. It is, after all, a Greek tragedy. It's an excellent adaptation, performed by an absolutely brilliant cast, with something to say about the current world. 

This production of Antigone runs through June 15, 2026. Visit the theatre's website for the complete schedule. There is no intermission. Antaeus Theatre Company performs at Kiki & David Gindler Performing Arts Center, at 110 East Broadway in Glendale, California.

Shakespeare References in Her Only Sin

Benjamin Stein's novel Her Only Sin contains a few Shakespeare references. The first is a reference to The Tempest: "When we got to the final stanza, which ended with 'Alma Mater Queen,' the entire cheerleader squad suddenly materialized out of thin air behind the stage" (p. 43). The phrase "thin air" comes from Prospero's speech, "These our actors,/As I foretold you, were all spirits and/Are melted into air, into thin air." The other two references are to Romeo And Juliet. Benjamin Stein writes: "This was not a conversation between a Hollywood executive and a White House staffer. This was Romeo and Juliet in the White House solarium" (p. 88). And then: "Susan-Marie passed by the life-size blowups of movie stills from Republic's past - Joel McCrea and Ronald Reagan as cavalry officers. Joan Fontaine and James Cagney as star-crossed lovers" (p. 140).

Her Only Sin was published in 1985. The copy I read was a hardcover First Edition.

Shakespeare References in Slow Hand

Slow Hand: Women Writing Erotica, a collection of short stories edited by Michele Slung, contains a few Shakespeare references. The first comes in the introduction, and is a reference to The Tempest. Michele Slung writes, "Remembering all those times when unwashed hair, or a recalcitrant pimple, or an unwished-for five pounds seemed to stand between me and the enjoyment I might take from a kiss, and always sensing the unfairness of it, but accepting it, nonetheless, as the set of rules from which to operate, I appreciated at once the sea change these stories represented" (pages xvi-xvii). The phrase "sea change" comes from Ariel's song in the first act. He sings, "Nothing of him that doth fade/But doth suffer a sea change/Into something rich and strange." Then Barbara Gowdy's story "Ninety-Three Million Miles Away" contains a reference to Romeo And Juliet: "A consoling line from Romeo and Juliet played in her head: 'He that is stricken blind cannont forget the precious treasure of his eyesight lost'" (p. 61). It is a line that Romeo says to Benvolio in the first act. Each story has a short author's note at its end, and the note to Sara Davidson's "The Wager" contains a reference to The Taming Of The Shrew: "The fantasy in this piece is that archetypal one best dramatized in The Taming of the Shrew - where a strong woman resists with everything in her arsenal and yet is overcome by the cunning of the male" (p. 98). Liz Clarke's "Reasons Not To Go To Fort Lauderdale" contains a Macbeth reference: "When the phone rang at 1:30 that morning I was in the kitchen, gathered with Gabe and Patricia around a bubbling vat of chickpeas like the three witches in Macbeth" (p. 122).

Slow Hand: Women Writing Erotica was published in 1992. The copy I read was a First Edition.

Shakespeare References in Reel Power

Mark Litwak's book on the film industry, Reel Power, contains a paragraph with references to King Lear, Shakespeare and Romeo And Juliet: "I said, 'Well he is playing it as a sort of King Learian tragedy.' The agent replied, 'Ah, but Shakespeare is hot now.' This was when Zeffirelli was doing Romeo and Juliet" (p. 58).

Reel Power was published in 1986. The copy I read was a hardcover first edition.

Shakespeare References in Writing The Romantic Comedy

Billy Mernit's book Writing The Romantic Comedy:The Art And Craft Of Writing Screenplays That Sell contains quite a few Shakespeare references, though a good number of them are simply references to the movie Shakespeare In Love. In fact, the first line of the introduction mentions that movie: "Three of the biggest box office successes of the past few years - Shakespeare in Love, There's Something About Mary, and Runaway Bride - are among a slew of recent movies that demonstrate the remarkable staying power of romantic comedy" (p. ix). It is next mentioned in the first chapter: "Though Shakespeare in Love has been justly praised for its wordplay, what many people remember from it isn't a line, but a moment of visual poetry: a luminescent Viola spinning round and round as her poet/playwright lover joyfully unwinds for the first time the cloth that's been binding her femininity" (pages 6-7). It's mentioned again soon after that: "Romantic comedy often offers dual points of view (e.g. the fairly even split in Shakespeare and You've Got Mail)" (p. 9). A little later in the chapter, the author compares Analyze This and Shakespeare in Love: "And isn't Shakespeare more about how the Bard found his Muse and the love of his life?" (p. 12). And then: "But excise Gwyneth Paltrow from Shakespeare in Love, and you'd really have to change its title to Shakespeare" (p. 12). And: "Every subplot in Shakespeare in Love stems from the love affair between Will and Viola. The show goes on only because they go on; their passion fuels every conflict" (p. 12). And: "Thus in Shakespeare in Love, Will and Viola's involvement leads to his completing a masterpiece that stars her; when they're forced apart, both their happiness and the success of his play are jeopardized, but their onstage reunion, however brief, makes Romeo and Juliet a smash and their love immortal" (p. 13). Shakespeare in Love is included in the list of period romantic comedies (p. 25). It is mentioned again a little later: "Mark Norman and Tom Stoppard's costumed tour de farce Shakespeare in Love" (p. 48). And then: "Harry and Sally, Annie Hall and Alvy, Shakespeare and Viola, Michael Dorsey and Julie, Loretta Castorini and Ronny Cammareri - all of these memorable romantic comedy twosomes have at least one important thing in common: we care about them" (p. 53). And then: "More recently, Shakespeare in Love ended with a skillfully crafted, emotionally resonant compromise. In Viola's playing Juliet opposite Will's Romeo during the play's premiere, they enact the symbolic peak and pinnacle of their relationship. This resolution gives way to a poignant parting, suggesting a metaphorical 'ever after': from here to eternity Will and his muse will be united as she lives on in the heroines of his subsequent plays. It's a sad victory - a joyful defeat" (p. 117). And: "Shakespeare in Love's midpoint, a montage sequence following Will and Viola's first lovemaking, melds exterior action and inner emotions in a seamless blend of life and art, as Will and Viola's love fuels the creation of Romeo and Juliet. From the unbinding of Viola in her bedroom to the dual nurses (real nurse and actor nurse) calling the lovers from both bed and stage at the sequence's end, it's the essence of the movie in microcosm" (p. 119). And still more: "Shakespeare in Love, for example, hits some beats right on the nose, while doubling up and reconfiguring others" (p. 122). And: "Oscar-winning Shakespeare in Love is certainly proof that viewers will happily buy into the most incredible of contrivances" (p. 126). And: "Marc Norman, the original writer on Shakespeare in Love, started out with the idea of showing Will in his 'upstart crow' days, just as he was getting his foothold in the world of Elizabethan theater. Even before eventual cowriter Tom Stoppard (a Brit steeped in theatrical lore) signed on, American Norman did his homework and found the very linchpin of his plot, born of a simple historical fact: women were not allowed on the stage in 1585" (pages 126-127). And there's this: "In its opening scene, Shakespeare in Love immediately establishes that it's a farce by playing a situation that involves real, physical pain for laughs. Theater owner Henslowe is having his feet burned by an annoyed backer, Fennyman, but Henslowe's pathetic, crazed wheeling and dealing, as well as Fennyman's malicious indifference, takes the emphasis off the scene's pain and peril - as does the very fast turnaround that occurs when Henslowe saves his hide by bartering Will Shakespeare's new comedy. 'Romeo and Ethel the Pirate's Daughter,' he offers. 'Good title,' says Fennyman, and Henslowe is released" (p. 129). And: "Like Viola's mustache in Shakespeare" (p. 135). And: "Thus Shakespeare in Love, as we've noted, establishes a tone that encompasses both farce and speedy verbal wit in its opening minutes" (p. 155). And: "hero and/or heroine may well end up alone (Shakespeare in Love, My Best Friend's Wedding)" (p. 250). Shakespeare in Love is included in some lists at the end of the book, including Romantic Comedy Winners of "Best Picture" Academy Award and Romantic Comedy Winners Of "Best Screenplay" Academy Award.

There is a reference to my a phrase from my favorite speech from Macbeth: "What's the signficance - the meaning behind all your digital sound and fury?" (p. 6). The line from Shakespeare's play reads, "It is a tale/Told by an idiot, full of sound and fury./Signifying nothing." A Midsummer Night's Dream is also mentioned: "The paradigm for this form (a central couple's conflicts are echoed, contrasted, or parodied through one or more supporting couples) can be found in Shakespeare's ensemble comedies (Midsummer Night, etc.)" (p. 19). There is also this: "from Hugh Grant's diffident persona to Joe Fiennes's Shakespearian fire and poetry" (p. 61). And we get another Macbeth reference: "Working in a medium where getting the butts in the seats and keeping them there is the seeming be-all and end-all, writers agonize over the proper act breaks and plot points" (p. 107). Macbeth says, "that but this blow/Might be the be-all and the end-all." There is also another reference to A Midsummer Night's Dream: "The course of true love, no matter how mysterious or magical it may be in its particulars, has some predictable way stations" (p. 108). That's a play on Lysander's famous line, "The course of true love never did run smooth." The book also contains a reference to Julius Caesar: "No, the fault - to paraphrase Shakespeare, who excelled at such material - lies not with our stars, but with ourselves" (p. 206). The line, as Cassius says it, is "The fault, dear Brutus, is not in our stars,/But in ourselves, that we are underlings." The next reference is to Hamlet, with Billy Mernit writing: "Brevity's the soul of wit, and overlong, overwritten screenplays don't sell" (p. 234). Polonius says to Claudius, "Therefore, since brevity is the soul of wit,/And tediousness the limbs and outward flourishes,/I will be brief." There is another reference to Romeo And Juliet: "The unlikely but star-crossed lovers do go into their clinch at the end" (p. 249). There is also this reference to Shakespeare: "It may not be Shakespeare, but it's good enough for me" (p. 253).

Writing The Romantic Comedy: The Art And Craft Of Writing Screenplays That Sell was published in 2000. 

Shakespeare References in 100 Monologues

The book 100 Monologues: An Audition Sourcebook From New Dramatists, edited by Laura Harrington, contains a few Shakespeare references. The first is to Hamlet, and it comes in a monologue from Nightcoil by Jeffrey M. Jones. In fact, nearly the entire monologue is an attempt to recall Hamlet's most famous soliloquy. "To be, or something-or-other" (p. 141), and continues from there. (See photos below.)

There is a brief description of the character before each monologue, and in the description before the monologue from Dick D. Zigun's Red Letter Days, two of Shakespeare's characters are referred to: "This is a monologue for a man or woman playing a pagan spirit like Ariel or Puck with an ethical standard deviant from those held by warm-blooded humans" (p. 237). Ariel is a character from The Tempest, while Puck comes from A Midsummer Night's Dream. Then at the end of the book there is a list of playwrights with a bit of information on each. Among the plays listened under John Guare's name is Two Gentlemen Of Verona (p. 247),  which is a rock musical based on Shakespeare's play of the same name. I hope I can see a performance of that one at some point. And the list of plays under Allan Rieser's name includes one titled The Merry Wives of Scarsdale (p. 252), its title obviously a play on Shakespeare's The Merry Wives Of Windsor.

This book was published in 1989.

Shakespeare References in Star Trek Memories

It is certainly not surprising to find Shakespeare references in William Shatner's Star Trek Memories, a book he wrote with Chris Kreski. Star Trek has always been strangely, wonderfully connected to Shakespeare. In fact, several of the references in this book come in the episode titles from the show. And William Shatner had done some Shakespeare before being cast in Star Trek. The book's first reference is to Shakespeare himself: "With all that in mind, it becomes conceivable that even if Shakespeare himself were to rise from the dead, dig himself out of his grave and hop a transatlantic Concorde to L.A., showing up in the William Morris offices with TV spec script in hand, he'd most likely be turned away at the lobby" (pages 15-16). The next reference is to Hamlet: "However, by 1964 Desilu had suffered the slings and arrows of Lucy and Desi's divorce, and also the irrational but somehow enduring stigma attached to that particular pairing of names" (p. 37). The phrase "slings and arrows" comes from Hamlet's most famous soliloquy. Then we get a reference to Macbeth: "He and his assistants now labored over a green vatful of viscous liquid mumbling to themselves and appearing not unlike Macbeth's three witches. Finally, after adding some unusual ingredients into the mix (Eye of newt? A bit of dragon's blood? Who knows?), they once again came up with a bright green batch of new improved paste" (p. 68). There is another reference to Hamlet's famous speech: "likeable professional who somehow managed to suffer every one of the unavoidable slings and arrows of network television without ever losing perspective or his formidable sense of humor" (p. 83). There is another Hamlet reference, this time not related to that beloved soliloquy: "All of this was truly odd for me because I'd never felt this sort of jealousy before. I was always for 'the team,' and 'the peace' and 'the play's the thing,' so these new feelings caught me totally off guard" (p. 264). The phrase "the play's the thing" comes from Hamlet's famous lines at the end of Act II: "The play's the thing/Wherein I'll catch the conscience of the King." The end of that line would serve as an episode title for the series, and that's mentioned in this book, along with an episode titled "Dagger Of The Mind," which comes from a line in Macbeth. Shatner writes: "For example, Grace was to have co-starred with Captain Kirk in our eleventh episode, 'Dagger of the Mind,' but her deterioration forced Roddenberry and Justman into a decision to rewrite the episode, adding the guest character of Dr. Helen Noel and entirely deleting Yeoman Rand. Further, in Grace's final episode, 'The Conscience of the King,' her performance consisted solely of walking onto the bridge in the background of the scene, taking a quick look at a particular piece of equipment, then exiting" (p. 283). The "Dagger of the Mind" episode is again mentioned on pages 359 and 360. One of the book's chapters is titled "To Stay Or Not To Stay" (p. 285), obviously a play on Hamlet's "To be or not to be." Another episode title is "By Any Other Name," a reference to the bad quarto of Romeo And Juliet, that episode mentioned on page 316. The correct line (in both the second quarto and the First Folio) is "a rose by any other word." Another episode is titled "All Our Yesterdays," a phrase that comes from my favorite speech in all of Shakespeare's work, Macbeth's "Tomorrow and tomorrow and tomorrow" speech, in which Macbeth says "And all our yesterdays have lighted fools/The way to dusty death." That episode is mentioned on pages 364, 365 and 371.

Star Trek Memories was published in 1993. My copy is the paperback edition from July 1994.

Shakespeare References in Sextrology

Many years ago I was working on a television show that had a bookstore set (I can't recall the name of the show), and so of course I was looking through the books. Several of us were enjoying bits from a book titled Sextrology (from that title, you can tell it's not meant to be taken too seriously), and, as it was the final day of that show's filming, I was given permission to take a copy home at the end of the day. I read little bits of it back then, and then forgot about it. But recently I finally decided to read the entire thing, and was surprised by how many Shakespeare references it contains.

The first couple of references are to Hamlet. In the chapter on the Aries Man, the authors (Stella Starsky and Quinn Cox) write, "incorporating the notion that females are fragile, which is, we thinks, a by-product of the man doth protesting too much against his nature," an awkward phrasing, but a reference to Gertrude's line to Hamlet, "The lady doth protest too much, methinks." The second comes in the chapter on Taurus Man, with the authors writing, "But here's the rub" (p. 51), a reference to Hamlet's most famous soliloquy (that phrase is used several more times throughout the book). That same chapter contains a list of famous Taurus men, which includes William Shakespeare himself (p. 60). In the section with brief description of couplings, the Taurus Man/Cancer Women includes this: "It's a ten-hankie twosome - much ado about nothing; they cry till they laugh" (p. 67). The next couple of references are to Hamlet. The authors write, "So it becomes her most pressing issue, over which Taurus doth protest too much: to try to be more" (p. 77). The phrase "doth protest too much" comes from Gertrude's line to Hamlet, "The lady doth protest too much, methinks." And then: "There is, however, more method to the Bull's madness" (p. 78), a play on Polonius' "Though this be madness, yet there is method in 't." Next there is a reference to Romeo And Juliet: "Like some schoolyard Romeo, he's continually perfecting his spiel, his well-rehearsed sales pitch" (p. 97). That is in the chapter on the Gemini man. Also in that chapter, there is this reference to A Midsummer Night's Dream: "First, the legendary figure is the mythic Robin Goodfellow or Puck (Irish: Pooka), who is a male sprite, fairy, a versatile creature of the air, indeed, the medieval incarnation of Mercury-Hermes himself, sharing, as Oberon's gofer, in that god's role of messenger" (p. 99). That play is mentioned again a little later in the chapter: "Shakespeare's Puck is the medieval Mercury, messenger to the Fairy King. Called Robin Goodfellow, he is the precursor of Robin Hood, who did bad things for good reasons" (p. 105).

The chapter on Gemini women contains a lot of references to Romeo And Juliet. First, West Side Story (itself an adaptation of Romeo And Juliet) is mentioned: "In short, her love life is all very West Side Story, characterized, as it was, by a sort of social divide" (p. 130). Then: "Just when you thought the mention of West Side Story was a throwaway reference, there's more: when it comes to the advent of love, Shakespeare's Romeo and Juliet, the basis for the aforementioned musical, is an exploration of the Geminian experience, from soup to nuts. The play treats the mutable-air world of social disorder, played out in an urban landscape. Every Mercury-ruled 3rd House theme under the sun is folded into the mix - a family feud between two merchant houses is the backdrop for Romeo and Juliet (nigh on completing her fourteenth year of life), who hastily rush into star-crossed love. The play itself is already a retelling of the Helen myth, or rather an untelling of it, as Shakespeare has Juliet betrothed to Paris, making him now into the Menelaus whom the beloved girl throws over in favor of the forbidden fruit of Romeo. Romeo describes Juliet, too, in Helenesque terms, saying she "teaches the torches to burn bright." They first profess their love to one another in the Capulets' apple orchard, only to end up in their shared tomb, like Adam and Eve expelled from the garden and ultimately robbed of their immortality. What Shakespeare calls their "death-marked love" isn't lost on the Gemini girl, for whom, as in all great romances, an element of the unrequited is de rigueur. First, like Juliet, Gemini is living proof of love at first sight, all else fuzzing out of focus when she spots a boy who takes her sign-ruled breath away - the existence of this phenomenon is still debated by dubious philosophers; for sure, not one of whom are Gemini women" (p. 130). There is a sidebar on this page that also mentions Romeo And Juliet: "Shakespeare's Juliet personifies love at the Geminian crossroads" (p. 130). Then: "It also controls automatic responses like breathing as well as the opposite instincts for fight and flight, fear and lust, love and hate, the last two comprising the thin-lined main theme of Shakespeare's play. Indeed, the name Juliet, a feminine diminutive of Julius, comes from the Greek oulos meaning "downy,"another aviary reference chalked up to the Twins bird" (pages 130-131). And: "Like Juliet, and all her archetypal figures, Gemini acts hastily, without thought to consequence" (p. 131). And: "Just as the 14-21 age group associated with the sign portrays a shift from dependent to independent thought in the individual, so, too, does Juliet shift in the play from an ancillary, conditional character to a freethinking unconditional one. She moves from using her reptilian, ritualistic brain associated with inherited automatic responses (which, by rights, should signal repulsion to a Montague) to employing her own noggin, as if for the first time, like Eve independent of God's conditional world where He does the thinking for you" (p. 131). And still more: "As with Juliet, Eve, or Helen, expectations are heaped on the Gemini girl that she adhere to a vision of her future, typically designed and held by her parents, who nonetheless fail, in her estimation anyway, to fully meet her immediate needs. She may, in fact, unconsciously seek out such Romeos as she knows will raise the ire of her loved ones" (p. 131). Then: "As in the Fantastiks, yet another Romeo-and-Juliet-based musical, the fathers of the would-be lovers prevent their growing children from seeing one another, twisting the familiar theme, in a plot to ensure they'll marry in defiance" (p. 132). And: "She risks sending a would-be Romeo the wrong message: that screwing around so easily isn't something she does just with him" (p. 132). And: "Love at first sight, for the zodiac's Juliet, invariably morphs into the unrequited variety, amid a cyclone of variables. Since she's typically so young, falling hard for an equally callow fellow, there isn't much chance outside of sixteenth-century Verona that she'd be considered old enough to marry" (p. 133). And yet: "she will eventually change identities, Juliet to Lolita" (p. 134). Then: "Lolita, remember, had a secret Romeo stashed away the whole while she sucked that lollipop" (p. 134).

The chapter on Cancer woman includes a reference to Macbeth: "In fact, in the single active objective of becoming the be-all-end-all little woman to a guy" (p. 177). The phrase "the be-all and the end-all" comes from one of Macbeth's speeches in the first act. And we get that same reference to Much Ado About Nothing in the couplings at the end of that chapter (though oddly the semicolon becomes a comma here): "It's a ten-hankie twosome - much ado about nothing, they cry till they laugh" (p. 192). Then we get a reference to The First Part Of King Henry The Fourth: "Like Shakespeare's born king Prince Hal, the young Leo will live a life of knavery, to some extent, often experiencing an outright obsession with gaming and gambling" (pages 198-199). That chapter contains another similar reference: "just as Arthur fills the seats at his Round Table with only the best and brightest, while Shakespeare's Henry must eschew such losers as Falstaff and company" (p. 204). That chapter also contains a reference to Hamlet: "and insures she'll never again suffer the slings and arrows of his emotional witholding" (p. 209). The phrase "slings and arrows" comes the most famous soliloquy. The chapter on Leo women contains a few references to Romeo And Juliet: "Purring and cooing, she disarms a would-be Romeo by rendering unnecessary his seductive lover-boy strategies" (p. 231); "Though she's not quick to fall in love, especially not on first sight like the Geminian Juliet, Leo is certainly no saint in between times" (p. 232); "And so she rumbas her ruffles into run-ins with unreserved, illustrative lover-boys, barnyard Romeos to whom she may feign to play Juliet, a character that couldn't be further from her true self" (pages 232-233); and "This is not the kind of girl to deliver a believable balcony scene, some bird in a gilded cage" (p. 233). A sidebar in that chapter includes this: "Shakespeare's Cleopatra ('Father's glory') and his aptly named Kit in The Taming of the Shrew are fiercely Leonine characters" (p. 232). 

The chapter on Scorpio man contains a reference to Hamlet: "He delights in seeing his slings and arrows soar clear over the heads of unsuspecting victims" (pages 338-339). There is also a Hamlet reference in the chapter on Sagittarius man: "Just as there was an inherent method to Dionysus' madness, Sagittarius is likewise not a sign of disorder, but rather of new order" (p. 377). That refers to Polonius' line "Though this be madness, yet there is method in 't." That chapter also includes that Macbeth reference: "self-revelation is the be-all-end-all of experience from the Sagittarian male vantage point" (p. 386). There is also an Othello reference in that chapter: "Because Sag is beyond even so blatant a duality as the vividly described 'beast with two backs'" (p. 387). That phrase comes from Iago's speech to Brabantio when he tells him that his daughter and Othello are "making the beast with two backs." The Capricorn man chapter includes a reference to Shakespeare: "speaking, as he does, in a smarmy stage whisper of a voice, often with perfect Shakespearean pronunciation, which might seem to be some sort of put-on" (p. 426). That chapter also includes a couple of references to Hamlet: "He is, like Hamlet (synonymous with harbor or haven), an eternally tragic figure - the word tragedy itself comes from the Greek word tragoidia meaning 'goat song.' And let's face it, there's no easy way of telling these skull-gazing Hamlets of the world to simply lighten up" (p. 433) and "What Mr. Hamlet or Mr. Haven needs to realize is that the safe-harbor scenario is really a two-way street" (p. 434). Then a sidebar in the chapter on Capricorn woman reads, in part: "She is Spencer's Fairy Queene and Shakespeare's Titania (Rhea the Titan) from A Midsummer's Night Dream, who steals away a young prince, just as Rhea whisked off prince Zeus" (p. 451). (And, yes, it does say A Midsummer's Night Dream instead of A Midsummer Night's Dream). That chapter also contains a Hamlet reference: "all too often having suffered their slings and arrows during her uglier-duckling days" (p. 452). There are two more references to that phrase from Macbeth: "a fitting denotation for this be-all-end-all of water signs" (p. 512) and "translates into the Piscean female's fancying herself the 'be all, end all' of womankind" (p. 536). There is also a reference to Richard The Third: "Lady Anne forms a 'pieta' mourning Henry IV in Shakespeare's Richard III" (p. 538).

Sextrology: The Astrology Of Sex And The Sexes was published in 2004.

Sex, Lies And Harold Pinter (2026 Production) Theatre Review

Sex, Lies And Harold Pinter is a visiting production now up at The Odyssey Theatre, and is made up of two excellent one-act plays by Harold Pinter – Party Time and The Lover. Though both plays were written some time ago (Party Time in 1991, The Lover in the early 1960s), they speak to us just as strongly now, and this production, directed by Jack Heller, sets them in current times.

Party Time (Pinter's third play with the word "party" in the title, following The Birthday Party and Tea Party) is up first, and within a few minutes of the house opening, the cast takes the stage, mingling, talking with each other, just as the audience does as they find their seats and get comfortable, one almost a reflection of the other. The characters all gravitate toward the drinks table, as would we all. Then, drinks in hand, they form their own little groups – two women on the couch, two men standing upstage right, the others remaining near the drinks table upstage center. The set is very symmetrical (with an end table on either side of the couch, and an arm chair to the outside of each table, and so on), but warm, dominated by wood and with red carpets. Though there are many classic touches to the set (an hour glass, the older furniture), we are in modern times, which is apparent when one of the women on the couch slips her cell phone into her purse. And if it weren't for the necessary announcements before the show (and some idiot's phone still dinged), the play could just emerge from the action already in progress. It is the two men upstage right (Paul Marius as Terry, Larry Eisenberg as Gavin) who speak first, and while they do, the other characters remain frozen in shadow. That will continue throughout the play, as the action shifts from one group to another. The conversation is about a tennis club, and there is a good deal of humor, part of it coming from them not quite connecting, until Dusty (Michelle Ghatan) joins them and tries to turn to a serious matter, asking "Did you hear what happened to Jimmy?" And though she too gets sucked into the conversation about the club, we in the audience are drawn to her and are now keeping a closer eye on her, for we feel that she's the one that will perhaps speak for us. She is the one who most directly addresses the danger outside, and Michelle Ghatan does an excellent job in the part.

Though the story takes place at a somewhat upscale party, there soon are clues that something horrible is happening on the streets, something these people are doing their best to ignore. At most, whatever it is is an inconvenience to them, as Melissa (Mouchette Van Helsdingen) makes clear when she enters and talks about the roadblock. "We had to say who we were," she says, exasperated, as those at the roadblock had the audacity to not be aware of who she is. Mouchette Van Helsdingen is wonderful there, by the way, quite funny. And soon we hear a helicopter flying overhead. And while it becomes clear from the conversations that these people are largely, or at least feel largely, innocent, or rather removed, from the troubles outside, we get the sense that they are, in fact, responsible, much in the same way that all the people who voted for Donald Trump are responsible for the concentration camps, the war with Iran and the high gas prices here and now. Sure, they might be baffled at receiving the blame, but they are responsible nonetheless. This production gives us a lot of laughs, as when Fred (Isaac W. Jay) tells Douglas, "I admire people like you," and Douglas (Christopher Louis Parker) replies, "So do I." And the way Charlotte (Brenda James) delivers the word "Appalling." Yes, everything we love about Harold Pinter's dialogue is present here. But even as we're laughing, we sense something frightening bubbling up beneath the words, a strange threat of violence. This cast does a phenomenal job of both making us laugh and also putting us on edge, turning in captivating performances. And some of our discomfort (perhaps all of it?), we discover to our own chagrin, comes from a fear of how we ourselves might act in certain situations. When the party's host reveals that a roundup is happening and that normal service will return, it is again difficult to keep from thinking of what is happening on the streets of our cities right now. And isn't there a part of us that just wants things to return to normal?

The set remains the same for The Lover, and so for a moment we can't help but think that those who came before have met with a terrific end. Sarah (Susan Priver) enters first, and, like the characters of Party Time, makes her way to the drinks table. When Richard (Ron Bottitta, who was excellent in last year's Corktown '39) enters, there is silence between them for a moment. But soon he casually inquires about Sarah's lover. The matter-of-fact delivery is startling, and we can't help but wonder what he really feels about the situation. As for Sarah, when she describes her afternoon as "marvelous," she is positively glowing, and we have a much better idea how she feels about the arrangement. She is hilarious in that moment. It's interesting that when they discuss some of the details, they focus on the blinds, the light, and the heat, rather than what actually took place. It is a relationship in questions, if not in question, and we begin to get the sense that this is some kind of game for them. He asks her, for example, if she thinks of him while with her lover, and upon learning that she does, says, "I'm rather moved by that, I must say."

We soon learn that he too has a lover. She refers to the woman as a mistress; he refers to her as a whore. "I'm well acquainted with a whore," he tells her, which receives a big laugh. They are engaged in an interesting verbal game. And, again, it is a game of questions. It is Sarah's turn to ask, "Richard, do you ever think about me at all when you're with her?" At that moment, he seems to gain the upper hand. What's particularly interesting is that Richard asks Sarah, "What does he think of your husband?" rather than "What does he think of me?" It is then that we get the idea that the role of husband is also part of the game, and thus so must be the role of wife. And, indeed, it is as if these two are always playing at their game, and seem happiest when fully invested in their roles. That is, until Richard decides he wants to put a stop to it, which sets Sarah at a panic. Are they closest when playing the game? And as is the case with Party Time, this play might have us questioning some of our own games, our own roles. How much do we require certain games in our lives? And why? And if those games take over, who are the real us? There is a wonderful moment when Sarah tells her lover that he and her husband have so little in common, and another intriguing moment when Sarah tells her husband that their arrangement was not to question. Both Susan Priver and Ron Bottitta are absolutely riveting, turning in fantastic performances that keep the audience fully engaged.

Sex, Lies And Harold Pinter runs through April 26, 2026. Visit the theatre's website for the complete schedule. There is one brief intermission between the two plays. The Odyssey is located at 2055 South Sepulveda Blvd. in Los Angeles, California. There is a free parking lot in front of the theatre.

Shakespeare References in Deep Community

Deep Community: Adventures In The Modern Folk Underground, by Scott Alarik, contains some Shakespeare references. The book is a collection of pieces on the vibrant folk scene, focusing especially on the Boston scene. In a piece on Dar Williams, titled "Dar Williams: Her Battle Cry Of Kindness," Alarik writes, referring to The Green World: "The CD title is a theater term describing one of the two worlds in William Shakespeare's plays. There is the court world, where most of his historical dramas and tragedies are set. Then there is the green world, the wild, fey forests of 'A Midsummer Night's Dream' and 'As You Like It'" (p. 11). A little later in that same piece, Alarik quotes the lyrics of one of Dar's songs: "You would think they're carefree, I have seen their trials/Frowning into Shakespeare and practicing their smiles" (p. 13). Then in a piece on Ewan MacColl, Alarik writes: "'The ballads are brilliant examples of song construction,' he says. 'They are as important to people today as the plays of Shakespeare or Moliere, just as much complete works of art as anything we have in written literature. I think all the ballads in the quatrain form, such as 'Lamkin' or 'Tam Lin,' were very calculatedly composed, as carefully constructed as 'King Lear'" (p. 311). Later in that piece, he writes, "What MacColl is stressing, more than anything else, is that these ballads, and for that matter, all of the traditional folk songs that have been good enough to survive this long, are great works of literature, worthy of being treated as an actor treats Shakespeare" (p. 312). A piece on Kate Wolf contains a reference to Antony And Cleopatra: "Idaho singer-songwriter Sorrels, a friend of Wolf's since their salad days as aspiring troubadours in the mid-'60s, sings a rivetingly conversational cover of 'In China or a Woman's Heart'" (p. 338). The phrase "salad days" comes from Shakespeare's play. Cleopatra says, "My salad days,/When I was green in judgment." This book actually contains a second reference to Antony And Cleopatra, using that same phrase: "Through it all, she has taken precious lessons from her salad days at Club 47" (p. 378). There is one other mention of Shakespeare. About David Coffin, Alarik writes, "After two years, he decided, as he put it, to challenge his interest in music, dropping out of school and moving to Stockbridge, Mass., where he worked two years as a musician for the theatrical troupe Shakespeare & Company" (p. 369).

Deep Community: Adventures In The Modern Folk Underground was published in 2003 through Black Wolf Press.

Antony And Cleopatra (Long Beach Shakespeare Company's 2026 Production) Theatre Review

Long Beach Shakespeare Company's new production of Antony And Cleoptra at Helen Borgers Theatre is done with few props and in modern dress, the focus being on Shakespeare's text and the characters' relationships, particularly that of the two titular characters. It is a fast-paced production, without intermission, and with the entire cast remaining in the playing space throughout the performance. In fact, as the audience enters, the actors are already on stage, greeting people as they take their seats. Though this is a small theatre, the performance is done in the round, with a half-dozen chairs placed along what would normally be the stage left and stage right walls, and even a couple of chairs upstage from the main audience area. Thus, much of the audience is in the action, which makes asides feel all the more natural. A line from the play, "Eternity was in our lips and eyes," is written on both the stage left and stage right walls. It is a line spoken by Cleopatra to Antony in the play's first act, and it is a line that is striking for while it speaks clearly of their relationship, it is something that most of us feel when falling in love. And so the audience takes that thought, that feeling into the performance.

So it is perhaps no surprise that the first line spoken in this production is Cleopatra's first line, "If it be love, tell me how much." She and Antony are seated on a chest which is placed center stage and will act as an important platform throughout the performance. That line, delivered so well by Angelina Green, establishes Cleopatra's character perfectly. She is perhaps the most powerful woman in the world, and yet there is something of the young woman in her when it comes to love, something insecure, something needy. Angelina Green's Cleopatra is wonderfully playful in these opening moments, while Dominic Ryan Gabriel's Antony is a bit more stoic, a bit more somber. He stands on his "Let Rome in Tiber melt," as to stress his position. The actors are mainly in plain black clothing, helping with the sense of an ensemble piece, but Cleopatra's costume has a little more excitement to it, which seems exactly right, with tall boots and bits of jewelry (and, later, her special robe). Cleopatra's "Why did he marry Fulvia and not love her?" is delivered to the audience, making us part of her court. Antony engages in play too, and his "Last night you did desire it" receives "Ooohs" from other cast members, and perhaps from a few people in the audience too, for the barrier is quickly blurred. Antony shushes them. Charmian (Olivia Frias), following Cleopatra's lead, has fun with her "let me be married to three kings in a forenoon, and widow them all" speech. And Enobarbas (Connor Bowen) playfully peeks inside the chest before then announcing that Antony is coming. All of this works to create a deliciously light and mirthful mood and atmosphere.

The theatre's naturally intimate space, enhanced by the in-the-round setup, keeps the audience close to the action. And it allows for some softly delivered lines, such as Antony's speech after he learns of his wife's death. Dominic Ryan Gabriel is particularly good in that moment, and his delivery draws us in even closer, and works in great contrast to the established mood. The production makes excellent use of what space there is, particularly the chest, as I mentioned, and the platform upstage. For example, on "O, never was there queen/So mightily betray'd" Cleopatra stands on that platform so that she is above Antony, as she needs to be heard, to feel a regaining of power. She then returns to his level for her speech that contains the "Eternity was in our lips and eyes" line, once again intimate. And it is remarkable that we feel that intimacy so strongly even when the couple is among so many people. And Pompey (Arjun Lakshman) stands on the chest, surrounded by the ensemble, on "I shall do well:/The people love me." When Antony and Caesar (Justin Valine) meet, and size each other up, they are standing on opposite sides of the chest. Another interesting result of the way the space is used and the way the cast remains on stage is that when characters speak of other characters that are not present in the text they are able to look directly at them. This creates some fascinating stage pictures, for it is like we in the audience are able to see their thoughts. For example, when Caesar says "to tumble on the bed of Ptolemy," he indicates Antony and Cleopatra, who are engaged in an intimate moment on the chest. Later, when Antony speaks of Enobarbus who has gone to Caesar's camp, he stands directly in front of him, though Enobarbus is not actually in the scene. It's a powerful and emotional moment. And when Agrippa (Eduardo Mora) suggests that Antony take Octavia for wife, Octavia (Julianne Holmquist), who has been watching from upstage (but is not present in this scene in the text), steps down and makes a circuit of the action before returning to her spot. She, by the way, is able to convey so much with just a look, an expression. And speaking of expressions, it is clear from Justin Valine's expression that Caesar does not fully trust Antony even when taking his hand to seal the pact, agreeing on the marriage. Another wonderful stage picture is created when the Messenger describes Octavia to Cleopatra, for Octavia and Antony are lying down upstage, Antony's head on her lap, and it is painfully clear that Octavia is far from what the Messenger describes. Seeing Antony and Octavia in that moment also makes us feel more for Cleopatra.

More lines are delivered as asides in this production. For example, when Cleopatra says, "Thou teachest like a fool: the way to lose him," the second part of that line is delivered to someone in the audience. It really helps to make the audience feel a part of the action, without destroying the meaning of a line. Perhaps the most striking example of a speech basically turned soliloquy is that famous speech by Enobarbas, when he describes the barge and Cleopatra. This speech is delivered to the audience. On "dimpled boys," he briefly takes Agrippa's hand, but continues to address the audience. Connor Bowen does a phenomenal job with this speech. On "I saw her once/Hop forty paces through the public street," we can clearly hear and see his own admiration for her. The production features a strong ensemble, but Connor Bowen's performance is one that stands out. Another that stands out is that by Angelina Green. She is especially good in the scene where the Messenger has come to reveal the unwelcome news that Antony is married to Octavia. Her delivery of "I do not like 'but yet'" is particularly delightful. Her performance makes that scene especially memorable. And Dominic Ryan Gabriel delivers an excellent performance as Antony. He is exceptional on "you were my conqueror," sinking to his knees, drawing Cleopatra to him.

Though this production uses neither armor nor sword, both are still mentioned, as when Antony demands his armor or Eros (Alan Bornemann) says, "My sword is drawn." In that latter moment, his hands remain at his sides. He does not indicate that he uses his sword to kill himself, except through Shakespeare's words. Likewise, there is no asp, so it feels as if Cleopatra wills her own death. By the way, as you likely concluded, in this production, Cleopatra is not far enough above Antony for it to be necessary to have him lifted, as in the text. Instead, Antony is helped by two men to the platform. After his death, each of the characters takes a candle from its place on the wall and places it in a row on the chest in silent tribute, a touching moment. Cleopatra had the first line in this production, and it is Charmian who has the last. Caesar's final speech is cut, so it is the women who begin and conclude the performance, giving us a different sense of where the power lies.

This production of Antony And Cleopatra is directed by Christian Lee Navarro, and produced by Holly Leveque. It runs through March 22, 2026. Visit the company's website for the complete schedule. Helen Borgers Theatre is located at 4250 Atlantic Ave. in Long Beach, California.